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Quotes for The Song is You
“Megan Abbott: Superb storyteller, film noir scholar, deconstructionist suffused with a true artist’s passion. Poised to ascend to the top rung of crime writing and quite possibly something beyond.”
—James Ellroy
"Few novels break your heart, and even fewer mystery ones. This one broke me heart ... in smithereens. Such a wrenching poetic noir vision of loss and regret I've rarely encountered. Written in a style of such conversational élan, you nearly miss the absolute artistry. Superb evocation of the era and the legendary characters live and breathe in glorious dark reality. Megan Abbott is the song and a song of such yearning, such granite tenderness ... This is the most poignant novel you'll ever come across."
—Ken Bruen (THE DRAMATIST, PRIEST
"Megan Abbott continues to be my absolute favorite new author, and her second novel, The Song Is You, is even better than her first—super-sexy, superbly written, richly atmospheric, and with an ending you'll never see coming!"
—Lisa Scottoline
"A chilling second novel from Edgar-nominated Abbott spins the conventions of noir fiction into something fast, fierce and fresh ... a whiz-bang adventure through Tinseltown's underbelly.
"With abundant style and a tight convincing story, Abbott provides a retro thrill ride. ... Cain and Chandler are evoked in the rough-and-tumble period language ... but Abbott has her own voice, avoiding the genre's macho conventions, to evoke the young women who live 'in a gasp of tension.'"
-Kirkus Reviews (starred review)
"From its absolutely gorgeous, period-perfect cover to its evocative portrait of the 1940s Hollywood studio system in action, Megan Abbott's new novel is a sensual feast."
-Dick Adler, Chicago Tribune
"The book leaves no doubt that Abbott is an artful practitioner of fem noir. This one will heat up a winter night at International Falls."
-Jay Waggoner, Deadly Pleasures
"I thought I was an ace student when it came to Hollywood Babylon-type stories, but [with The Song Is You] Megan leaves me in the dust. Leaves me in the dust, throws her Lucky in my face and grinds it out with a dainty twist of her stiletto."
-Laura Lippman (TO THE POWER OF THREE, EVERY SECRET THING
Praise for Die a Little:
"Finally, here is a modern noir that perfectly depicts Raymond Chandler's 1950s L.A. in all its seamy, sexy corruption. In a thrilling portrayal of rival femme fatales -- one a denizen of L.A.'s demi monde, the other seemingly immune to its dark pull -- Megan Abbott's Die a Little mixes a potent cocktail of jealousy, obsession, and danger."
Lisa Scottoline, author of Killer Smile
"Megan Abbott: Superb storyteller...Poised to ascend to the top rung of crime writing and quite possibly something beyond." James Ellroy
"[Abbott's Die a Little] gives us the true dark heart of the city in sharply contrasted blacks and whites, dense with heartache. ... In these tasty noir stylings, you can almost smell the smoke and hear the clinking of ice cubes."
-Kirkus Reviews (starred review)
"Die a Little sets the bar high for everything that follows this year. This one is already at the top of my list for best of the year."
-Thomas McNulty, Mystery News
"Megan Abbott's spectacular first novel Die a Little is the kind of book that should make devotees of Cain and Chandler fall down and beg for mercy."
-Hollywood Reporter
"Abbott, author of a nonfiction study of hard-boiled literature and film, crafts a stylish, sensuous tale with picture-perfect period trappings."
-Publishers Weekly
"... a tale that smolders like the night's last, forgotten cigarette."
-Booklist, American Library Association
"Few psychological thrillers, by writers of either sex, offer such material, sensual, delicious catalogs of food, clothing, hairstyles, and especially kitchenware. In Abbott's hands, casserole dishes, folding chairs, and a 'Cornwall Thermo Tray with gold finish and wooden handles for serving hot artichoke hors d'oeuvres and tuna squares' have never seemed so sexy."
-Alexis Soloski, The Village Voice
"Abbott has fashioned a noir thriller that may remind readers of James M. Cain's brooding melodramas. She need not fear the comparison. Her story, rendered in a captivatingly off-beat style, crackles with suspense, and her portrait of L.A. in the 1950s, a seductive mixture of sleaze and sophistication, rings all-too-sadly true."
-Robert Wade, San Diego Union-Tribune
"Die a Little is a first novel, but you'll assume Megan Abbott is a seasoned vet. Her book is that good-reminiscent of the hard-edged naturalism of James M. Cain. ... The year 2005 is still new, but Abbott is already Rookie of the Year."
-Les Roberts, Cleveland Plain Dealer
"[O]ld-school noir at its finest, but with a nifty gender switch that gives the story extra oomph. ... Die a Little packs a mean little punch. And, like the best work in this genre, it lingers long after the last page."
-David Lazarus, San Francisco Chronicle
"Sexy, suspenseful, and effortlessly evocative of Hollywood's sleazy underbelly, [Die a Little] delivers all the smoky atmospherics a good noir should ..."
-Elle
"Die a Little takes us back to more innocent days, in which a smear of lipstick on a bed sheet still has the power to shock, men in sharkskin warn you that, honest, you don't know what you're getting yourself into, and a femme fatale with a mouth 'like one gorgeous scar across her face' dabbles in the darkest treachery without spilling her drink or smudging her makeup.
-Mary Harrison, Philadelphia Inquirer
"a chilling tale of how quickly the line between good and bad blurs. ... Die A Little is too smart to tell simple stories. Instead, Abbott layers in subtext and menace, murder and blackmail to demonstrate [her main character's] descent into blackness, and her secret welcoming of this shady world that engulfs her. ... Abbott's debut is a welcome treat."
-Sarah Weinman, Baltimore Sun
"Written in the style of the hard-boiled detective genre, Abbott gives her noir a big shot of estrogen. ... like an L.A. Confidential told from a distinctly feminine point-of-view. But in Abbott's noir not all sexually active women are femme fatales, and the innocent aren't always all that innocent after all."
-Sarah Vance, Bookslut
“A delicious slice of American noir fiction, set in 1950s Hollywood with a strong plot and period detail. Gorgeous cover style, too, recalling film posters of the time...”
-Sue Baker, Publishing News 16/5/08, picked as a Personal Choice
'What Abbott has given us, and this seems even more impressive considering it's a debut novel, is a tantalising glimpse into a world we can never hope to know but, like Lora King, cannot resist delving into to find out more, regardless of the cost to ourselves. In my case, this cost was a couple of nights without sleep.
A hugely impressive debut novel that borrows from the cool of Raymond Chandler, the Hollywood noir of Ellroy's Black Dahlia and the excitement of a rollercoaster.' Iain Wear, thebookbag.co.uk
'The publisher of Die A Little describes the novel as 'a gem of the darkest hue'. It's difficult to improve on this description. Megan Abbott's debut has the hardness, the sharpness and the lustre of a well-cut diamond.
The moral - about the heart of darkness within all of us - may be bleak, but Abbott conveys it in an elegant and effortless style all the more exceptional in a debut.'Damien Seaman, Shots
'James Ellroy meets Nancy Drew in a wonderfully atmospheric tale of ugly secrets in 1950s LA... The period detail is authentic and the dialogue spot on. Best of all, classic American noir recast from a woman’s viewpoint means that the female characters really come alive – about time, too’ Laura Wilson, Guardian 19/7
‘Here’s a real treat for fans of the likes of Raymond Chandler, a new writer exploring the darker side of 1950s LA... Abbott’s writing perfectly evokes the era, Hollywood and the contrast between clean-cut, model all-American citizens and the post-war underworld. She maintains the Chandleresque mood, while the truth about her characters remains elusive to the end. A very stylish debut indeed’ Bolton Evening News (circ. 29,000) 19/7/08
‘If you like your thrillers – and your femmes fatale – dark, you’ll love this noir recreation of ‘50s LA with its sharp suits and sharper dialogue, which was deservedly shortlisted for an Edgar in the States’ Tribune 15/8
"This cracking novel is as enjoyable as a racy ramble through the mean streets of LA with Philip Marlowe" Birmingham Sunday Mercury, Aug 08
‘This sensationally good novel proposes a solution to a real-life mystery: the disappearance in 1949 of a bit-part actress called Jean Spangler’ Telegraph 30/5
Quatrième de couverture :
“Megan Abbott: Superb storyteller, film noir scholar, deconstructionist suffused with a true artist’s passion. Poised to ascend to the top rung of crime writing and quite possibly something beyond.”
—James Ellroy
"Few novels break your heart, and even fewer mystery ones. This one broke me heart ... in smithereens. Such a wrenching poetic noir vision of loss and regret I've rarely encountered. Written in a style of such conversational élan, you nearly miss the absolute artistry. Superb evocation of the era and the legendary characters live and breathe in glorious dark reality. Megan Abbott is the song and a song of such yearning, such granite tenderness ... This is the most poignant novel you'll ever come across."
—Ken Bruen (THE DRAMATIST, PRIEST
"Megan Abbott continues to be my absolute favorite new author, and her second novel, The Song Is You, is even better than her first—super-sexy, superbly written, richly atmospheric, and with an ending you'll never see coming!"
—Lisa Scottoline
"A chilling second novel from Edgar-nominated Abbott spins the conventions of noir fiction into something fast, fierce and fresh ... a whiz-bang adventure through Tinseltown's underbelly.
"With abundant style and a tight convincing story, Abbott provides a retro thrill ride. ... Cain and Chandler are evoked in the rough-and-tumble period language ... but Abbott has her own voice, avoiding the genre's macho conventions, to evoke the young women who live 'in a gasp of tension.'"
-Kirkus Reviews (starred review)
"From its absolutely gorgeous, period-perfect cover to its evocative portrait of the 1940s Hollywood studio system in action, Megan Abbott's new novel is a sensual feast."
-Dick Adler, Chicago Tribune
"The book leaves no doubt that Abbott is an artful practitioner of fem noir. This one will heat up a winter night at International Falls."
-Jay Waggoner, Deadly Pleasures
"I thought I was an ace student when it came to Hollywood Babylon-type stories, but [with The Song Is You] Megan leaves me in the dust. Leaves me in the dust, throws her Lucky in my face and grinds it out with a dainty twist of her stiletto."
-Laura Lippman (TO THE POWER OF THREE, EVERY SECRET THING
Praise for Die a Little:
"Finally, here is a modern noir that perfectly depicts Raymond Chandler's 1950s L.A. in all its seamy, sexy corruption. In a thrilling portrayal of rival femme fatales -- one a denizen of L.A.'s demi monde, the other seemingly immune to its dark pull -- Megan Abbott's Die a Little mixes a potent cocktail of jealousy, obsession, and danger."
Lisa Scottoline, author of Killer Smile
"Megan Abbott: Superb storyteller...Poised to ascend to the top rung of crime writing and quite possibly something beyond." James Ellroy
"[Abbott's Die a Little] gives us the true dark heart of the city in sharply contrasted blacks and whites, dense with heartache. ... In these tasty noir stylings, you can almost smell the smoke and hear the clinking of ice cubes."
-Kirkus Reviews (starred review)
"Die a Little sets the bar high for everything that follows this year. This one is already at the top of my list for best of the year."
-Thomas McNulty, Mystery News
"Megan Abbott's spectacular first novel Die a Little is the kind of book that should make devotees of Cain and Chandler fall down and beg for mercy."
-Hollywood Reporter
"Abbott, author of a nonfiction study of hard-boiled literature and film, crafts a stylish, sensuous tale with picture-perfect period trappings."
-Publishers Weekly
"... a tale that smolders like the night's last, forgotten cigarette."
-Booklist, American Library Association
"Few psychological thrillers, by writers of either sex, offer such material, sensual, delicious catalogs of food, clothing, hairstyles, and especially kitchenware. In Abbott's hands, casserole dishes, folding chairs, and a 'Cornwall Thermo Tray with gold finish and wooden handles for serving hot artichoke hors d'oeuvres and tuna squares' have never seemed so sexy."
-Alexis Soloski, The Village Voice
"Abbott has fashioned a noir thriller that may remind readers of James M. Cain's brooding melodramas. She need not fear the comparison. Her story, rendered in a captivatingly off-beat style, crackles with suspense, and her portrait of L.A. in the 1950s, a seductive mixture of sleaze and sophistication, rings all-too-sadly true."
-Robert Wade, San Diego Union-Tribune
"Die a Little is a first novel, but you'll assume Megan Abbott is a seasoned vet. Her book is that good-reminiscent of the hard-edged naturalism of James M. Cain. ... The year 2005 is still new, but Abbott is already Rookie of the Year."
-Les Roberts, Cleveland Plain Dealer
"[O]ld-school noir at its finest, but with a nifty gender switch that gives the story extra oomph. ... Die a Little packs a mean little punch. And, like the best work in this genre, it lingers long after the last page."
-David Lazarus, San Francisco Chronicle
"Sexy, suspenseful, and effortlessly evocative of Hollywood's sleazy underbelly, [Die a Little] delivers all the smoky atmospherics a good noir should ..."
-Elle
"Die a Little takes us back to more innocent days, in which a smear of lipstick on a bed sheet still has the power to shock, men in sharkskin warn you that, honest, you don't know what you're getting yourself into, and a femme fatale with a mouth 'like one gorgeous scar across her face' dabbles in the darkest treachery without spilling her drink or smudging her makeup.
-Mary Harrison, Philadelphia Inquirer
"a chilling tale of how quickly the line between good and bad blurs. ... Die A Little is too smart to tell simple stories. Instead, Abbott layers in subtext and menace, murder and blackmail to demonstrate [her main character's] descent into blackness, and her secret welcoming of this shady world that engulfs her. ... Abbott's debut is a welcome treat."
-Sarah Weinman, Baltimore Sun
"Written in the style of the hard-boiled detective genre, Abbott gives her noir a big shot of estrogen. ... like an L.A. Confidential told from a distinctly feminine point-of-view. But in Abbott's noir not all sexually active women are femme fatales, and the innocent aren't always all that innocent after all."
-Sarah Vance, Bookslut
“A delicious slice of American noir fiction, set in 1950s Hollywood with a strong plot and period detail. Gorgeous cover style, too, recalling film posters of the time...”
-Sue Baker, Publishing News 16/5/08, picked as a Personal Choice
'What Abbott has given us, and this seems even more impressive considering it's a debut novel, is a tantalising glimpse into a world we can never hope to know but, like Lora King, cannot resist delving into to find out more, regardless of the cost to ourselves. In my case, this cost was a couple of nights without sleep.
A hugely impressive debut novel that borrows from the cool of Raymond Chandler, the Hollywood noir of Ellroy's Black Dahlia and the excitement of a rollercoaster.' Iain Wear, thebookbag.co.uk
'The publisher of Die A Little describes the novel as 'a gem of the darkest hue'. It's difficult to improve on this description. Megan Abbott's debut has the hardness, the sharpness and the lustre of a well-cut diamond.
The moral - about the heart of darkness within all of us - may be bleak, but Abbott conveys it in an elegant and effortless style all the more exceptional in a debut.'Damien Seaman, Shots
'James Ellroy meets Nancy Drew in a wonderfully atmospheric tale of ugly secrets in 1950s LA... The period detail is authentic and the dialogue spot on. Best of all, classic American noir recast from a woman’s viewpoint means that the female characters really come alive – about time, too’ Laura Wilson, Guardian 19/7
‘Here’s a real treat for fans of the likes of Raymond Chandler, a new writer exploring the darker side of 1950s LA... Abbott’s writing perfectly evokes the era, Hollywood and the contrast between clean-cut, model all-American citizens and the post-war underworld. She maintains the Chandleresque mood, while the truth about her characters remains elusive to the end. A very stylish debut indeed’ Bolton Evening News (circ. 29,000) 19/7/08
‘If you like your thrillers – and your femmes fatale – dark, you’ll love this noir recreation of ‘50s LA with its sharp suits and sharper dialogue, which was deservedly shortlisted for an Edgar in the States’ Tribune 15/8
"This cracking novel is as enjoyable as a racy ramble through the mean streets of LA with Philip Marlowe" Birmingham Sunday Mercury, Aug 08
‘This sensationally good novel proposes a solution to a real-life mystery: the disappearance in 1949 of a bit-part actress called Jean Spangler’ Telegraph 30/5
From the celebrated author of Die a Little, The Song Is You imagines a thrilling conclusion to the as yet unsolved 'Daughter of Black Dahlia' murder case
On October 7, 1949, starlet Jean Spangler kissed her little daughter goodbye and left for a night shoot at a Hollywood studio. She was never seen again. The only clues left behind: a purse found in a nearby park, a cryptic note, and rumours about mobster boyfriends and ill-fated romances with movie stars.
Two years later, smooth-talking Hollywood publicist 'Hop' Hopkins' finds himself unwillingly drawn into the still unsolved mystery. Driven by guilt and the fear of blackmail, Hop delves into the case himself. He thought he'd seen it all, but what he uncovers both tantalizes and horrifies him as he plunges deeper and deeper into Hollywood's substratum in his attempt to uncover the truth.
'Super-sexy, superbly written, richly atmospheric, and with an ending you'll never see coming!' Lisa Scottoline
'If Abbott writes half a dozen more books as good as her first three, she will claim the throne as the finest prose stylist in crime fiction since Raymond Chandler' San Francisco Chronicle
On October 7, 1949, starlet Jean Spangler kissed her little daughter goodbye and left for a night shoot at a Hollywood studio. She was never seen again. The only clues left behind: a purse found in a nearby park, a cryptic note, and rumours about mobster boyfriends and ill-fated romances with movie stars.
Two years later, smooth-talking Hollywood publicist 'Hop' Hopkins' finds himself unwillingly drawn into the still unsolved mystery. Driven by guilt and the fear of blackmail, Hop delves into the case himself. He thought he'd seen it all, but what he uncovers both tantalizes and horrifies him as he plunges deeper and deeper into Hollywood's substratum in his attempt to uncover the truth.
'Super-sexy, superbly written, richly atmospheric, and with an ending you'll never see coming!' Lisa Scottoline
'If Abbott writes half a dozen more books as good as her first three, she will claim the throne as the finest prose stylist in crime fiction since Raymond Chandler' San Francisco Chronicle
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
- ÉditeurMagna Large Print Books
- Date d'édition2010
- ISBN 10 0750532890
- ISBN 13 9780750532891
- ReliureRelié
- Nombre de pages336
- Evaluation vendeur
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état : SatisfaisantShips from the UK. Former library... En savoir plus sur cette édition
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The Song Is You
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Magna Large Print Books
(2010)
ISBN 10 : 0750532890
ISBN 13 : 9780750532891
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Description du livre Etat : Good. Large type / large print edition. Ships from the UK. Former library book; may include library markings. Used book that is in clean, average condition without any missing pages. N° de réf. du vendeur 39772475-20
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EUR 4,02
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